I will just talk about my personnal taste here and not criticize the art of this singer since I am not able to sing twinkle twinkle little star in tune. She has a too wide vibrato for me and it was even more obvious in Il trovatore. Same comment for Meade (even worse). Listen to Price, Sutherland, to Caballe the line was almost pure. But maybe it is a new fashion... Today's public may like the vibratos or confuses agility and wobbles?
I enjoyed this aria although I will admit I've heard it sung better - but so what? Does one have to hear the greatest of all time - live or dead - every time one goes to the opera???
How could they ever stage an opera?
I think it's just snobbism and often ignorance to immediately compare a performance with a cherished memory of a golden performance past..
Each performance should be judged on its own merits IMHO...
You probably either have an axe to grind or have not heard her live. When she sings ensembles (trios, quartets, etc.) you cannot even HEAR the others when she is singing!!
I heard her do the final trio of Faust at the Met, for example. Once she started singing it was a solo! The poor tenor and bass sounded like they were just faking singing.
She actually has either a huge voice or a voice that carries extremely well - which is the same thing in pactice..
Awful! Terrible tonal quality, lack of focus, poor dynamics and the voice is really small for this part. It's easy to criticize but it's better to be honest. She is NOT a drammatico d'agilità and she's definitely singing the wrong repertoire.
She's behind the beat, which equals too tentative. I do not know how she sings this today, but this reading is not what this aria wants. Her voice is small for this vehicle. She sings well but without spontaneity or real passion, therefore lacking in conviction. Price devours this aria and gives it wall to wall, top to bottom, front to back total vocal commitment. I just heard Radvanovsky's Met Tosca in which she gave perhaps one-third of a performance. She will grow in time it is hoped.
I heard her sing this Monday night live at the Kennedy Center, and it was the best performance I've ever heard of this piece. She is an amazing Verdi soprano. Wow! Great job, Sondra.
@lamusicahera I would say that both her Violetta (or rather the Act I aria which is the only thing I heard of her Violetta) on one hand, and Leonora, Elvira, Elena in Vespri etc. on the other hand are AWESOME!
I saw her in this role at the Lyric in Chicago last night. Astounding. Whoever said this role is supposed to be difficult doesn't under stand. Verdi wrote the piece for a woman who sang it effortlessly.
The person with the disparaging remarks on the quality should buy better speakers. She doesn't sound good on a tin can on a string.
i don't think this aria is supposed to sound so effortless, so easy-breezy-beautiful cover girl. listen to Callas sing this, and then listen to Radvanovsky.
@corellithebest --I was actually responding to some of the negative criticism because I feel that Radvanovsky's rendition is superb as well. I was meaning that she seems to be more in line with Callas's interpretation rather than the smoother stylings of Leontyne Price or Leona Mitchell (which I really like as well, but a very different approach) I was trying to say it was a matter of intent, not lack of technique.
Voilà une voix franche, simple et sincère qui met un terme aux chichis des affectées du genre Bartoli, Fleming et Netrebko... qui simulent l'orgasme vocal au point de dégoûter de l'opéra. Cette génération est revenue aux temps archaïques du "beau pour rien", creux, vide et vénal. Cette Sondra renoue avec la vérité qui sort des tripes. Une nouvelle révolution à la Maria Callas va enfin épousseter la vieille vitrine de l'opéra ! Amen !!!!!
Yes, that is exactly the word for her... She is interesting, even fascinating. In many ways, she is the "anti-Fleming" of recent years. Very committed to her art, and no diva airs.
Radvanovsky sang a superb Suor Angelica this season with the Los Angeles Opera; although she lacked the creamy sound of a lyric soprano, the intensity in her singing earned her a standing ovation. As Elvira, her voice sounds tired and under pressure. On this day, she is not up to the demands of this aria. She aspires to sing Norma and Abigaille some day. I hope she hasn't lost her voice by then.
To be fair, I remember going to see her in this production - she was quite ill with some sort of virus throughout the whole run (there was an announcement before the opera begging the audience's indulgence and all), but she managed to pull together beautifully for my performance. Perhaps she was feeling especially ill this evening?
I will just talk about my personnal taste here and not criticize the art of this singer since I am not able to sing twinkle twinkle little star in tune. She has a too wide vibrato for me and it was even more obvious in Il trovatore. Same comment for Meade (even worse). Listen to Price, Sutherland, to Caballe the line was almost pure. But maybe it is a new fashion... Today's public may like the vibratos or confuses agility and wobbles?
matthieusarah 3 days ago
I enjoyed this aria although I will admit I've heard it sung better - but so what? Does one have to hear the greatest of all time - live or dead - every time one goes to the opera???
How could they ever stage an opera?
I think it's just snobbism and often ignorance to immediately compare a performance with a cherished memory of a golden performance past..
Each performance should be judged on its own merits IMHO...
TedinNY 1 week ago
Now to those who call her voice small:
You probably either have an axe to grind or have not heard her live. When she sings ensembles (trios, quartets, etc.) you cannot even HEAR the others when she is singing!!
I heard her do the final trio of Faust at the Met, for example. Once she started singing it was a solo! The poor tenor and bass sounded like they were just faking singing.
She actually has either a huge voice or a voice that carries extremely well - which is the same thing in pactice..
TedinNY 1 week ago
esta chida
Pplyn 2 weeks ago
Awful! Terrible tonal quality, lack of focus, poor dynamics and the voice is really small for this part. It's easy to criticize but it's better to be honest. She is NOT a drammatico d'agilità and she's definitely singing the wrong repertoire.
GoldenAgeSunshine 3 months ago
She's behind the beat, which equals too tentative. I do not know how she sings this today, but this reading is not what this aria wants. Her voice is small for this vehicle. She sings well but without spontaneity or real passion, therefore lacking in conviction. Price devours this aria and gives it wall to wall, top to bottom, front to back total vocal commitment. I just heard Radvanovsky's Met Tosca in which she gave perhaps one-third of a performance. She will grow in time it is hoped.
Trinite33 1 year ago
I think this is well sung but underpowered. For voice and dramatic intensity I will go to Ponselle.
65attila 1 year ago
I heard her sing this Monday night live at the Kennedy Center, and it was the best performance I've ever heard of this piece. She is an amazing Verdi soprano. Wow! Great job, Sondra.
toscadonna 1 year ago
@lamusicahera I would say that both her Violetta (or rather the Act I aria which is the only thing I heard of her Violetta) on one hand, and Leonora, Elvira, Elena in Vespri etc. on the other hand are AWESOME!
corellithebest 1 year ago
I saw her in this role at the Lyric in Chicago last night. Astounding. Whoever said this role is supposed to be difficult doesn't under stand. Verdi wrote the piece for a woman who sang it effortlessly.
The person with the disparaging remarks on the quality should buy better speakers. She doesn't sound good on a tin can on a string.
ralph058 2 years ago 4
Just saw her in this . I think she is quite good; she's quite young, and I think she'll be great before too long!
7inga7 2 years ago
i don't think this aria is supposed to sound so effortless, so easy-breezy-beautiful cover girl. listen to Callas sing this, and then listen to Radvanovsky.
s65j89 2 years ago
@s65j89 I wouldn't agree with you. I mean, of course Callas is LA DIVINA, but Radvanovsky's rendition is SUPERB, MAGNIFICENT, HIGHLY ARTISTIC!
corellithebest 1 year ago
@corellithebest --I was actually responding to some of the negative criticism because I feel that Radvanovsky's rendition is superb as well. I was meaning that she seems to be more in line with Callas's interpretation rather than the smoother stylings of Leontyne Price or Leona Mitchell (which I really like as well, but a very different approach) I was trying to say it was a matter of intent, not lack of technique.
s65j89 1 year ago
@s65j89 Sorry if I misunderstood you. I am so glad that we agree!
corellithebest 1 year ago
Voilà une voix franche, simple et sincère qui met un terme aux chichis des affectées du genre Bartoli, Fleming et Netrebko... qui simulent l'orgasme vocal au point de dégoûter de l'opéra. Cette génération est revenue aux temps archaïques du "beau pour rien", creux, vide et vénal. Cette Sondra renoue avec la vérité qui sort des tripes. Une nouvelle révolution à la Maria Callas va enfin épousseter la vieille vitrine de l'opéra ! Amen !!!!!
mariasarda 3 years ago 6
Well, she isn't Leontyne Price in this aria but I think she is one of young singer more interesting at this moment
Pagudo 3 years ago 3
Yes, that is exactly the word for her... She is interesting, even fascinating. In many ways, she is the "anti-Fleming" of recent years. Very committed to her art, and no diva airs.
MusicaParola 3 years ago 8
Radvanovsky sang a superb Suor Angelica this season with the Los Angeles Opera; although she lacked the creamy sound of a lyric soprano, the intensity in her singing earned her a standing ovation. As Elvira, her voice sounds tired and under pressure. On this day, she is not up to the demands of this aria. She aspires to sing Norma and Abigaille some day. I hope she hasn't lost her voice by then.
MusicaParola 3 years ago 2
To be fair, I remember going to see her in this production - she was quite ill with some sort of virus throughout the whole run (there was an announcement before the opera begging the audience's indulgence and all), but she managed to pull together beautifully for my performance. Perhaps she was feeling especially ill this evening?
nectenorboi09 3 years ago 2